SNUGGLE UP | MARK MCCLURE

Meet Mark McClure, the master of repurposed geometry whose style blends fine art, sculpture, street art and interior design. Be it his unique wood mosaics and wood wall sculptures or original serigraph prints, his work will make a bold statement in your home.

Please tell us a bit about yourself, and the journey you took to become an artist.

I’m an artist and designer raised in the Midlands and have been in London for over 20 years. I was trained in graphic design and worked as a designer for agencies all over London.

About 12 years ago I started pushing the art side of things in between freelance gigs. I got myself a studio in Dalston, initially for freelance work, but it’s since grown into a workshop and art studio. Over the time my practice has developed to encompass wooden wall pieces, sculpture, public art, installations and screen printing, including some great collaborations with big brands, interiors folk and furniture companies.

What helped you to get to where you are today?

I guess just putting it out there! Art fairs helped me a lot – they can be a big expense but are a good way to get a lot of eyes on your work

I made a 200 metre long wooden mural at the Olympic Stadium with Moniker Projects in 2014 – quite possibly the first of its kind – so they helped me a lot by giving me that opportunity. It was only there for a few years, but it was a huge learning curve and a massive boost for my work.

What was the first piece of art that moved you? What was it about it that grabbed you?

“Abstract Speed - The Car has Passed” (1913) by the Futurist Giacomo Balla. I loved Futurism at school and this painting summed up the graphic, dynamic representation of something beyond the literal and physical. Balla conveys the intangible - the idea of movement and speed - without even showing the car.

Where do you get your inspiration from?

Everywhere! My biggest tip would be to NOT check out social media. It’s the worst thing to do when you’re having a block.

The best thing to do is relax – either by playing and experimenting or by doing something completely different. I find inspiration comes from working without pressure or when I’m doing something unrelated.

Where do you work best from? Do you have any habits, or a routine, that help you harness your creativity?

It varies a lot and depends what I’m working on – and since the start of Covid things have changed a lot. I definitely struggled to get creative at home during the lockdown – it’s easier for me to be surrounded by ongoing work and have space to make a mess.

As I said before – I find playing and tinkering a good way to get inspired. At the moment I’m enjoying working more in the evenings when its quieter at the studios. My screen print work is easier to do with space to spread out – as they are all different – so I’ve been printing into the night a lot lately.

What is your current favourite piece in your own body of work? Why does it hold a special place in your heart?

“The Deep End” sculpture. I’ve been expanding my visual language a bit over the past year – partly since exploring laser cutting, which means I can achieve shapes I’d struggled to achieve myself in the studio.

This large wall sculpture, created for a group show back in February, marks that change. It was one of the last large pieces I created before the lockdown – back in those crazy days of crowded exhibition openings.

What was the latest piece of art that you bought yourself?

This piece by Dan Cimmerman – one of about 30 head drawings he created last year. Dan’s one of my favourite painters and I have 4 pieces by him. Plus he’s just an all round great guy.

If you could choose three pieces of work from the Artsnug collection, what would they be?

Andrew J Millar "Fallen Flowers (Gold)"

Jonathan Lawes "Patchwork #2” (SOLD)

Bailey Schmidt "Sedum Sieboldii"

Anything else you would like to share with us?

Stay alert and support the arts!

SHOP MARK’S WORK